Selecting a Reed

• Slur up tests
  • Test E2-C3
  • Test C3-C4
  • Test D3-D4
  • Test Eb3-Eb4
• Inspection/adjustment
  • Will butt end fit on bocal?
  • Is it symmetrical?
• Blade strength balance test
• Tip opening/closure
• Blow for tone
• Wire inspection test
• Throat inspection
• Tip opening
• Crow test
• Tap test

The Crow Test

• Dry crow
• Pitch of crow
• Split octave
• Full crow
• In and out crow
• Adjustments: sanding or scraping
• Tap tests

 

Tests for Open F through C2
The Big Five

• Pitch centering
  • Play the note where it’s comfortable.
  • Check tuner.
  • Make appropriate adjustments.
• Ear plug test
  • Hold the note in tune with tuner.
  • Plug ear.
  • Note if pitch drifts sharp or flat.
• Stability and articulation
  • Note if pitch changes with dynamics changes (pp – sffz) and repeated articulation.

Six Adjustment Choices

If Sharp Adjust wires: 1T/2T Thin and taper the tip in the note’s zone Sand blade front ¼ Check blade for strength imbalance Loosen or notch 1st wire Back off bocal/add wire

If Flat Adjust wires: 2S/1S Flip or Clip? Check bocal penetration; ream Tighten and round wires Check tip gradient/lateral taper Narrow reed shape

Tip Taper and Gradient

Corner Bend Test

Problem Tip Openings

Tests for Fork Eb and D, the Nexus Note

• Achieve balance between soft, “bare” Fork Eb and D pitch center.
• Nexus note ear plug check (D2, D3).
• Cross checks (relatives) for Eb:
  • C3 Harmonic
  • Ab-Bb Trill
  • Fork Bb3

Key and Pad Stop Adjustment Points for Tuning

• Adjust from bottom up, first open tone holes (F, G, A), then closed tone holes (F#, Ab, Bb).
• 5mm average from pad (raised end) to tone hole.
• Tuning tape??
• Pad height vs. tone hole size.
• Shim or sand paper?
• Key and pad stop adjustment points.
• U-Tube gasket.

Ten Reasons to Clip the Tip

Reasons to clip tip/shorten vibrating length (tip to 1st wire):

• E2 is unstable at forte or pianissimo.
• F2 is unstable at forte or pianissimo.
• C#2 or C#3 is unstable at forte.
• Alternate E2 is flat.
• Won’t slur across break to C3 from open F.
• Can’t slur up easily to F3 from F2.
• Harmonic fingerings are still flat after working rails.
• Pitch of regular and alternate F#3 don’t match.
• Can’t slur up to alt high C, D or Eb.
• The reed still plays flat after adjustments and reaming.

Level 2: Middle Register Method

Harmonic Convergence

• Compare harmonic and other test fingerings to standard fingerings.
• Goals:
  • Match pitch of standard fingerings to harmonic/test fingerings.
  • Eliminate fuzzy articulation and croaking/split tone.
• Tuning is accomplished by scraping or sanding in a note’s tuning zones:
  • Channels (center of channel or neighboring spine zone)
  • Rails
• Tap test: for channel, high pitch first; for rail, low pitch first.
• Requires back and forth adjustments between channel, rail, and spine zones.
• Cross checks with neighbors and related tests.
• Pitch deviation between standard and test fingerings directs adjustments.

Harmonic Fingerings

• Fundamental note is a 12th below the note you are comparing and tuning, 3rd partial.
• Half-hole or register key assistance.
• *Alternate fingering test notes.

 

 

Pitch Tendencies in Middle Register

• Sharp tendency notes: F#, G, Ab
  • Lowering pitch of harmonic lowers pitch of standard fingering.
• Flat tendency notes: tuning A, Bb, B, C, C#, D, Eb
  • Lowering the pitch of harmonic/test fingering raises pitch of standard fingering.
• Non-harmonic test notes include French E, alternate F, and F#, comparing F# standard to alternate.

 

Level 3: Upper Register Tunings

• Left-hand only slur up tests to identify good high note reeds.
• G and Ab harmonic tunings are critical.
• G fine tuning (B-G test).
• Left-hand only A-B-C test.
• C to Bb slur down.
• Crosschecks.
• Additional techniques.

The Final Tests

Test A
Test B
Test C

 Mark’s Reed Tool Desk